“One thing art can do is resolve physical objects in your life. Any item with
a burdensome duty or heavy sentimentality can enter a higher realm of attention and care simply by declaring it as art, or more abstractly as finished. In this transaction the object is never again your problem. It is possible here too that actual feelings contained in the object are moved to the more benign category of symbolic feelings. We should not take this for granted as it may only be a temporary aspect of the field, and instead enjoy it while it lasts.” Bradley Kronz, 2023
“The future of an artwork is hypothetical, in that it is always unknown what will become of it but what is clear is that it will certainly, in the future, end up somewhere.”
Kristina Bengtsson, 2015
“1. THE ARTIST MAY CONSTRUCT THE WORK
2. THE WORK MAY BE FABRICATED
3. THE WORK NEED NOT BE BUILT
EACH BEING EQUAL AND CONSISTENT WITH THE INTENT OF THE ARTIST THE DECISION AS TO CONDITION RESTS WITH THE RECEIVER UPON THE OCCASION OF RECEIVERSHIP”
Lawrence Weiner, 1968
skēnē is pleased to present a new exhibition of old artworks that emerged as a spontaneous reflection on an old exhibition of new artworks.
In 1999, Bera Nordal invited three sculptors to show at Malmö Konsthall, namely:
Kirsten Ortwed (Danish, b.1948), Barry Le Va (American, 1941–2021) and Lawrence Weiner (American, 1942–2021).
25 years later, and 55 odd years after conceptual art’s first experiments, “(…) the excitement has died down. Recollected in tranquility, conceptual art is now being woven into the seamless tapestry of ‘art history.’ This assimilation, however, is being achieved only at the cost of amnesia in respect of all that was most radical in conceptual art.” In this particular moment, skēnē is honored to re-present works by three artists who try to overcome the difficulties inherent to the making of significant works.
Kristina Bengtsson (Swedish, b.1979) studied at at Lunds University, Glasgow School of Art and the Academy of Visual Arts, Leipzig. Working with photography, text and sculpture she explores the intersection between language, society and identity. In her practice she plays with cultural choreographies and how they are shaped and understood, with a particular interest in labour and autonomy. Recent exhibitions include ‘Searching for comfort in an uncomfortable room’ at Vermilion Sands, Copenhagen, 2023; ‘Du Jag Someone Something’ at Bladr, Copenhagen, 2022;
‘Wasted’ (with Kevin Malcolm) at Tørreloft, Copenhagen, 2021.
Bradley Kronz (American, b.1986) graduated from the School of the Art Institute of Chicago in 2008. “In his practice, framing, supporting structures, vantage points, depth and trompe-l’oeil
are combined across media. Often starting from the art or creations of others, his works (…) repeatedly solicit attention to details.” (Nicolas Brulhart, 2023) Recent exhibitions include ‘“I had all the tools even at a young age”’ at Gandt, New York, 2024; ‘Bradley Kronz’ at Gaylord Fine Arts, Los Angeles, 2024; ’Nine Types of Industrial Pollution’ at Kunsthalle Friart Friburg, 2023; ‘works’ at Mulier Mulier Gallery, Brussels, 2022.
Lawrence Weiner (American, 1942–2021) was a leading figure in the conceptual art movement of the 1960s. Weiner’s practice used language as its core material. Questioning the fundamentals of sculpture and artmaking itself, he shifted away from object-centric work with his 1968 precept. Significant solo exhibitions include The Jewish Museum, New York (2020–2021); Stedelijk Museum, Amsterdam (2013); Tate Modern, London (2012, 2006); Whitney Museum of American Art, New York (2007–2008); Haus der Kunst, Munich (2007) among many others.